民间职业川剧表演团体生存模式变迁研究

发布时间：2018-07-08 13:58

本文选题：川剧 + 民间表演团体　；参考：《中央民族大学》2015年硕士论文

【摘要】：川剧是颇具代表性的地方戏曲剧种,其具有的艺术特征来源于一百多年间川剧艺人对巴蜀大地风土人情的体察与凝练,是深受西南地区乃至全国民众喜爱的表演艺术形式。民间川剧班社以戏曲表演作为经济来源,艺人靠演戏养家糊口。在城镇与乡村,川剧表演与民间宗教信仰和其他各种民俗活动有密切联系,在城市中则有专门提供大众娱乐的戏园演出。民间职业川剧表演团体是具有明显商业性质的社会组织,普遍来说艺人必须靠四处流动演出来维持生计。国家政权时常希望通过传统戏曲来教化民众,而大众则更加看重传统戏曲的娱乐功能。新中国成立后,通过戏曲改革,一些班社演化成国营川剧院团,政治权力对民间职业川剧表演团体的介入也逐步深入,以达到利用戏曲进行政治宣传的目的。政府大力推行现代戏,使许多剧团依赖于国家的资助,逐渐丧失经济上的独立性,直到“文革”期间传统戏曲完全遭到禁绝。之后,社会开始由计划经济向市场经济转型,许多县级剧团艺人被放逐市场,而民营职业川剧团却在体制改革中重新获得了活力,以自负盈亏的生存方式回归民间,回到市场,以其灵活的演出、剧目生产、管理方式赢得了观众的支持。进入21世纪,城市更新与观众的老龄化挤压了民营剧团的生存空间。与此同时,政府通过对传统文化中与新的历史阶段所具有的主流价值观念相符合的内容的再度挖掘,通过传统戏曲来为社会的深入改革助推,这使得民营职业川剧团的生存模式又产生了新的变化,这体现为政府开始对民营剧团进行经济上的扶持。作为传统文化载体的民间职业川剧表演团体的生存模式在外部社会的作用下发生重构,其经济上的独立性随之变化。本文通过对民间职业川剧表演团体历史脉络的梳理和对现存“火把剧团”的实地考察,以多种维度探究民间职业川剧表演团体的运作机制,以及不同时期政治力量对它的外部介入,并试图以国家-社会的理论视野解释民间川剧表演团体生存模式变迁与社会改革和政府角色转型之间的逻辑联系。本文作者认为,民间职业川剧表演团体的发展过程,实际上体现了国家与社会、民间价值观念与官方意识形态的相互作用。政府在经济利益结构和内部组织结构两个维度上对民间职业川剧团的介入决定了其生存模式。
[Abstract]:Sichuan opera is a representative of the local opera drama, its artistic characteristics come from more than 100 years Sichuan opera artists to the Bashu earth customs and condensed, is deeply loved by the southwest region and even the national people's performing art form. Folk Sichuan opera troupes take opera performance as a source of income, artists rely on acting to support their families. In towns and villages, Sichuan opera performances are closely related to folk religious beliefs and other folklore activities, while in cities there are theatrical performances dedicated to mass entertainment. Folk professional Sichuan opera performing group is a social organization with obvious commercial character. Generally speaking, artists have to make a living by moving around. The state often hopes to educate the public through traditional opera, while the public values the entertainment function of traditional opera more. After the founding of the people's Republic of China, through the reform of traditional Chinese operas, some classes evolved into state-run Sichuan theatrical troupes, and the involvement of political power in folk professional Sichuan opera performance groups gradually deepened in order to achieve the purpose of making use of traditional opera for political propaganda. The government vigorously promoted modern drama, which led many theatrical troupes to rely on state funding and gradually lose their economic independence until the traditional opera was completely banned during the "Cultural Revolution". After that, the society began to transform from a planned economy to a market economy, and many entertainers at the county level were banished from the market. However, the private professional Sichuan opera troupe regained its vitality in the course of the system reform and returned to the private sector in a self-financing way of survival, returning to the market. With its flexible performance, production, management has won the support of the audience. In the 21 st century, urban renewal and audience aging have squeezed the living space of private theatrical troupes. At the same time, the government through the traditional culture with the new historical stage of the mainstream values in line with the re-mining, through traditional opera to promote the in-depth reform of society, This makes the survival mode of private professional Sichuan Opera Troupe a new change, which is reflected in the government began to give economic support to the private troupe. As the carrier of traditional culture, the survival mode of folk professional Sichuan opera performance group reconstructs under the function of external society, and its economic independence changes with it. By combing the historical context of the folk professional Sichuan opera performing groups and investigating the existing "Torch Troupe", this paper explores the operation mechanism of the folk professional Sichuan opera performance groups in various dimensions. And the external involvement of political forces in different periods, and attempts to explain the logical relationship between the changes of the survival mode of folk Sichuan opera performance groups and social reform and the transformation of government roles from the perspective of state-society theory. The author believes that the development process of folk professional Sichuan opera performance groups actually reflects the interaction between state and society, folk values and official ideology. The intervention of the government in the two dimensions of economic interest structure and internal organization structure determines the survival mode of the folk professional Sichuan opera troupe.
【学位授予单位】：中央民族大学
【学位级别】：硕士
【学位授予年份】：2015
【分类号】：J825

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